Sadly, passion and romance are two ingredients missing from this melodrama, which does an excellent job of re-creating the Depression-era circus business.

Its unique take on a common subject lends freshness to the familiar and provides a worthy motivation for seeing this.

Scream 4 is so obsessed with the self-referential element that made the original Scream unique that it loses the capacity to be genuinely scary or funny.

The only thing surprising about this lackluster animated production is that it attracted an A-list voice cast.

It's amazing how a lifeless, pointless remake can provoke pangs of nostalgia about a mediocre movie.

Most of the humor in Your Highness is obvious, tepid, and often crude. There are some amusing one-liners but the majority of the comedy makes one realize how brilliant "Monty Python and the Holy Grail" is.

The movie's realistic portrayal of the ingredients that can lead to bullying and other forms of unkindness inflicted on outsiders by those in power, speaks strongly to viewers watching in the 21st century.

It's better than most dramas showing in multiplexes.

Although it would be an exaggeration to claim that Hanna "has it all," it is a richer and more compelling white-knuckler than the average roller coaster ride into tension and mystery.

If there's a complaint to be made about Insidious, it's that the film's second half is unable to live up to the impossibly high standards set by the first half.

Well paced and energetic; it's unlikely to bore anyone.

This movie isn't bad in the way some incompetently made movies are bad; this is bad because there's much skill evident in a pointless endeavor.

The special effects budget is on the high side but those effects serve the story rather than the other way around, and Paul is all the better for it.

The problem with the movie isn't the acting, it's the story, which falls considerably short of the promise of its premise. For a plot about super-intelligent people, the screenplay is surprisingly dumb.

In the best tradition of mystery thrillers of this sort, it satisfies enough on an emotional level that we're willing to forgive any intellectual, procedural, and logical shortcomings.

Jane Eyre is good enough to provide lovers of classic literature with a reason to venture to theaters without being subjected to a salacious or demeaning adaptation.

At least the werewolves in Red Riding Hood have teeth and, when in human form, they don't parade around shirtless.

Watching Battle Los Angeles is akin to observing someone else play a video game with top-notch production values. For a while, it's fun, but immersion is born of involvement.

Rango is the poster child for those who are anti-3-D, and a great reminder that genuine creativity doesn't need a gimmicky crutch to appeal to audiences.

Beastly was made with tween girls in mind. It's the kind of love story a viewer can believe in when she is indiscriminating enough to ignore bad acting, bad writing, and mediocre filmmaking.

Perhaps the most surprising thing about The Adjustment Bureau is that, irrespective of the misdirection of the trailers and T.V. spots, this is more of a romance than a science fiction thriller.

The appeal of Drive Angry is much the same as that of "Piranha": a willingness to revel in absurdity to the degree where the exhilaration is infectious.

Hall Pass isn't by any means flawless, but its ability to integrate extreme scatological humor with moments of genuine feeling is rare.

The recycling goes as deep as the dialogue, which is a mangled and blended refrain of clichés.

Yes, Unknown is preposterous. That in and of itself is not a reason to avoid the movie. The problems lie in the way the absurdity is presented and the manner in which the screenplay resolves once the "truth" is revealed.

Akin to watching a bad sit-com that never ends.

Nothing if not versatile. And, although perhaps not as funny as one might expect given the setup, it successfully grows the main characters beyond their stereotype roots.

Although it's true that a father/son relationship lies at Sanctum's emotional core, the movie is at its best when it highlights the defiance of the protagonists to yield to despair and give up.